In Between

The new Feelies album is both mellow and intense in ways only the New Jersey band can pull off. With the increased use of acoustic guitar, it feels like a spiritual sequel to 1986’s The Good Earth.

In 2011, when the Feelies released their first album in 20 years, it came with hints of indecision. It was called Here Before—possibly as in “been there, done that”—and began with the lyric “Is it too late to do it again?/Or should we wait another 10?” The music certainly sounded confident, in the breezy but determined style that the New Jersey quintet patented around the time of their second album, 1986’s The Good Earth. But you could forgive diehards for wanting clearer signs that the Feelies were back to stay.

With this new Feelies album, there remains no explicitly outlined future for the band. But the record is called In Between—presumably there’s more to come—and it offers hope in titles such as “Stay the Course” and “Time Will Tell,” and in lines like, “Take your time, not going anywhere.” Beyond these small signs, there are increased levels of musical commitment and design. The record is more purposefully-sequenced than its predecessor, with tracks that build on each other through subtle motifs. In press materials, guitarist and singer Glenn Mercer describes the record as “laid back,” and he’s right. But it’s as precise and efficient as it is casual and comfortable.

In its best moments, In Between sounds both mellow and intense in ways only the Feelies can pull off. That’s helped along by the increased prominence of acoustic guitar compared to Here Before (making the album a kind of spiritual sequel to The Good Earth). Acoustic guitars naturally exude calm, but Mercer and Bill Million imbue them with a sharpness. The quick strums in the pithy “Turn Back Time” and aforementioned swayer “Stay the Course” both soothe and energize. Acoustics even tighten the otherwise placid ballad “Make It Clear.”

Still, the Feelies remain a democratic machine, with each sound snugly complementing the other. They’re masters at weaving their moving parts into a kinetic whole: Take “Gone Gone Gone,” an insta-classic that escalates simple chords into a cycle of tension and release. While Mercer intones open-ended lyrics (“What do you want to know?/What do you want to do?”), the tune peaks when bassist Brenda Sauter redirects the band’s momentum like a ship’s rudder.

All the instrumental symbiosis on In Between connects its songs into an arc. That’s emphasized by how the album begins and ends. On previous records, the Feelies liked to conclude with a cover: the Velvet Underground’s “What Goes On” on 1988’s Only Life, the Stooges’ “Real Cool Time” on 1991’s Time for a Witness. Here, they cover themselves, reprising the sparse opening title track as a long, dense closing jam. Explicitly framing the album as a cycle is a typically Zen move, suggesting that this evergreen band plans on more trips around the sun.